My teaching philosophy, as it relates to private voice instruction and musical theatre directing is designed to meet the needs of the individual. Each student comes to the voice studio and the stage from a different background, a different learning style, and with different vocal and performance issues. My goal is to understand the student’s abilities, limitations, and potential, and then verbalize vocal and stylistic techniques that will grow them as a singer and performer. My teaching style is a culmination of the teaching I have received combined with my own personal study of pedagogical works by teachers such as Dr. James McKinney, Richard Miller, Oren Brown, William Vennard, Ingo Titze, Kenneth Bozeman, and others. I have also spent a great deal of time studying the Contemporary Commercial Music (CCM) Techniques and have been Level I, II, and III Certified at Shenandoah Conservatory’s Summer Institute under Dr. Matt Edwards. In addition to those studies, I have spent detailed time working under Mary Saunders Barton the author of “Bel Canto Can Belto.” Both programs have equipped me to cross-train the voice. It is also important that I build a singer’s confidence by acknowledging, supporting, and encouraging the innate abilities and talents the student possesses. It is therefore important to treat each student individually, taking into consideration the varied components. This individuality is what makes my profession always changing, growing, and interesting. There is no “one size fits all” model. 

 

Simply solving and correcting vocal frailties will not build the student into a successful singer. The singer must be taught how to problem solve vocal issues. A constant dialogue must be developed in the studio setting so that instruction is corrective in nature, but not limited to a single issue. Rather, the process of solving the vocal problem is as important as the solution. When the process is understood, then it can be used to problem solve other vocal issues. By taking ownership of the process, the student is empowered to continue growing and developing outside of the studio environment. This is no easy task.  I cannot take for granted that each student learns differently, so I must constantly adapt my teaching style. I must work cooperatively with the student in solving vocal issues. Once the technical issues are addressed it becomes my task to help the student understand “the five W’s...who, what, where, when, and why.” In each text undertaken, the student must address these questions in order to thoroughly grasp the piece and offer it to the audience. Once they know the motivation and the needs of their character and of the text then they can go about giving their personal artistic interpretation.    

 

My approach to directing is very similar. With each performer requiring individual attention, it is most important that we teach our future performers the process of developing characters and an efficient means to musical preparation. I provide the skeletal framework of staging, as well as dialogue with cast members regarding their character’s super objective/obstacles/tactics/stakes/the other (who they are speaking/singing to)/ the before and after(where are they coming from and where are they going). I firmly believe character development and enhancements are a collaborative process supported by the vision of the director. The student is encouraged to bring ideas and creation to the stage. When it adversely affects the production or the ensemble, the discrepancy is discussed, evaluated, and reworked. This dialogue provides the student the ability to avoid a similar mistake in the future. It is equally important to reflect on the rehearsal and performance process once it concludes. This conversation allows both teacher and student to synthesize what they have learned and what they will take on to the next production. It is my goal for each student’s progress to be collective, and this can only happen if they understand the process. I stand on the teachings of Stanislavski, Meisner, the physical work from Laban, Chekhov, Hagen, the body work from Alexander, and voice work from Linklater.

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Students invest their time, money, and talents into the guidance their voice teacher offers.  It is my responsibility and my privilege to return dividend on their investment. I love being able to share all that performing has to offer our future generations of artists. It is an honor to be trusted with the talents each student brings to my studio or productions. 

Most importantly, I cherish helping each student explore and grow in their integration of faith into their work and art. I believe that every good gift, talent, skill, and ability comes from the Creator. It is my job as a teacher, mentor, co-learner, and fellow believer to listen, guide, and share what has been taught to me. I am prayerful each day that God will use me to open doors that have been shut, to reveal breakthroughs that were unthinkable, to work through me as HIS vessel, and to breathe life and knowledge into those I have been entrusted with.